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NOTES 323
8. See Eisler, Composing for the Films, p. 77. Leech, "Dialogue for Stage and Screen," The Penguin Film Review, April 1948, no. 6:100, likewise rejects stage dialogue because "the epigrams, the patterned responses, the set speeches need the ceremonial ambiance of the playhouse and the living presence of the player . . ."
9. Barjavel, Cinema total . . . , p. 29, remarks that the imagination of the spectator watching a dialogue film "builds from the words showered down on him and replaces the images on the screen by those which the dialogue suggests to him." See also Clair, Reflexion faite, pp. 146, 150, 158, 188.
10. Panofsky, "Style and Medium in the Motion Pictures," Critique, Jan.-Feb. 1947, vol. 1, no. 3:9.
11. Nicholl, Film and Theatre, pp. 178-80.
12. Cf. Balazs, "Das Drehbuch oder Filmszenarium," in Won der Filmidee zum Drehbuch, p. 77.
13. For instance, Balazs, ibid. pp. 76-7; Arnheim, Film, p. 213; Leech, op. cit. pp. 99-101.
14. Cavalcanti, "Sound in Films," films, Nov. 1939, vol. I, no. 1 : 31.
1 5. Cf. Meyerhoff, Tonfilm und Wirklichkeit, pp. 75-6; Arnheim, Film, p. 213.
16. Ruskin, Praeterita, p. 106.
17. Hardy, ed., Grierson on Documentary, pp. 115-16.
18. I am indebted to Mr. Arthur Knight for having this film brought to my attention.
19. Pudovkin, Film Technique and Film Acting, part I, pp. 157-8.
20. Reisz, The Technique of Film Editing, pp. 278-9.
21. Eisenstein, Film Form, p. 258. Cf. also Pudovkin, op. cit. p. 143.
22. Pudovkin, ibid. p. 157.
23. Arnheim, Film, p. 251, cautioned against this confusion as early as 1930.
24. For instance, Reisz, op. cit. passim.
25. Pudovkin, Film Technique and Film Acting, part I, pp. 159-60; part II, pp. 86-7.
26. Griffith, "Documentary Film Since 1939 . . . ," in Rotha, Documentary Film, p. 332, has it that the Canadian World in Action films followed a pattern which "already existed in the form of the March of Time . . ."
27. See Kracauer, From Caligari to Hitler, p. 220.
28. Knight, The Liveliest Art . . . , p. 178, observes that some of Hitchcock's "surprise effects on the sound track . . . such as the woman's scream in The 39 Steps that merges with a shriek of a locomotive's whistle, have become classics in the field."
29. Clair, Reflexion faite, p. 159.
30. Cf. Arnheim, Film, p. 267.
31. Cf. Panofsky, "Style and Medium in the Motion Pictures," Critique, Jan.Feb. 1947, vol. 1, no. 3:16.
32. See Cavalcanti, "Sound in Films," films, Nov. 1939, vol. I, no. 1:36-7.
33. Ibid. p. 37.
34. So Clair in 1929; see his Reflexion faite, p. 145.
35. Quoted by MacDonald, "The Soviet Cinema: 1930-1938," Partisan Review, July 1938, vol. V, no. 2:46.
36. Clair, op. cit. p. 145.
37. Huff, Charlie Chaplin, pp. 256, 258.